of an atnateur attempt of the kind, organised by stable- boys, which frightened their horses and caused a stam- pede. Confucius, too, mentions the arrogance of a noble who employed in his ancestral temple the number of singers reserved for the Son of Heaven alone. It is hardly necessary to allude to the exorcism of evil spirits, carried out three times a year by officials dressed up in bearskins and armed with spear and shield, who made a house to house visitation surrounded by a shouting and excited populace. It is only mentioned here because some writers have associated this practice with the origin of the drama in China. All we really know is that in very early ages music and song and dance formed an ordinary accompaniment to religious and other cere- monies, and that this continued for many centuries.
Towards the middle of the eighth century, A.D., the Emperor Ming Huang of the T'ang dynasty, being exceedingly fond of music, established a College, known as the Pear-Garden, for training some three hundred young people of both sexes. There is a legend that this College was the outcome of a visit paid by his Majesty to the moon, where he was much im- pressed by a troup of skilled performers attached to the Palace of Jade which he found there. It was apparently an institution to provide instrumentalists, vocalists, and possibly dancers, for Court entertainments, although some have held that the "youths of the Pear-Garden" were really actors, and the term is still applied to the dramatic fraternity. Nothing, however, which can be truly identified with the actor's art seems to have been known until the thirteenth century, when suddenly the Drama, as seen in the modern Chinese stage-play, sprang into being. In the present limited state of our know-
�� �
